Creative synthesis

The principle of creative synthesis was first mentioned by Wilhelm Wundt in 1862. He wanted to identify the different elements of conscious and to see what laws govern the connections of these different elements. It started with the fact that colors, touches, and the spoken were not seen as the decoding of stimuli or the reception and storage of the things that are received into the brain from the external world. Wundt believed that instead, these factors are seen as the brain's subjective reactions to external stimuli that enter into our sensory systems. This is the concept of creative synthesis. The principle of creative synthesis was first mentioned by Wilhelm Wundt in 1862. He wanted to identify the different elements of conscious and to see what laws govern the connections of these different elements. It started with the fact that colors, touches, and the spoken were not seen as the decoding of stimuli or the reception and storage of the things that are received into the brain from the external world. Wundt believed that instead, these factors are seen as the brain's subjective reactions to external stimuli that enter into our sensory systems. This is the concept of creative synthesis. This theory shifted towards the emphasis on principles concerned with emotion, motivation, and volition as it had matured. These three ideas compete with one another, with the idea of creative synthesis at the center. This relates to the fact that Wundt viewed the mind as 'active, creative, dynamic, and volitional.' Volitional acts are creative but they are not free. This viewpoint could be assumed due to Wundt's deterministic view. Behind every volitional action that occurs, there were mental laws that acted on the contents of the consciousness. The shift in the goal-directed activity may have occurred, but it was already determined to change from the original plan.The sensory organs can be described endlessly in physics and other sciences, but these descriptions do not include explanations of the psychological qualities that are experienced. Qualities such as 'sweet', 'heavy', 'painful' or 'dark blue' are ones that can only be studied in a brain that is still able to react to experiences around it.